The present invention relates generally, to stringed musical instruments, and more concisely, is directed to the headstock, and string tension adjustment devices (tuners), utilized with stringed musical instruments. More particularly, a means/method of attachment, of string tension adjustment devices (tuners), to an existing stringed instrument headstock, aftermarket, or from the standpoint of primary, newly manufactured stringed instrument headstocks, either as the main means of string tension adjustment, or in conjunction with the more “classic” method of attachment for string tension adjustment devices, to add the desired amount of strings, and to achieve the desired effect. Usually but not limited to changing a single stringed instrument, to a double stringed instrument, and, but not limited to, from 6 to 12 strings, while retaining the character of that stringed instrument headstock and also while not compromising the structural integrity, or original intended design.
It will be appreciated that although the present invention can be used on any style stringed instrument headstock, from a conversion of an existing stringed instrument headstock aftermarket, to a newly manufactured stringed instrument headstock, this means/method of attachment is particularly useful when converting particular style headstocks, well known to those skilled in the art, from a set number of string tension adjustment devices (tuners), to a greater number of said devices, which heretofore has not been possible due to limitations in the surface area needed for the attachment of said devices.
To the applicant's knowledge there have been 3 patented inventions addressing the adding, or subtracting, the useable number of strings to a stringed instrument, and a variety of means to achieve this result. The first such device was invented by J. E. Gross, and was patented in U.S. Pat. No. 3,486,408, The next invention was invented by Michael N. Scuito, and patented in U.S. Pat. No. 4,408,515, and it adds strings via a completely different method. The next invention was invented by Val George Vanga, and patented in U.S. Pat. No. 5,753,838. This device was a variation of the Gross patent, and worked in relatively the same way, except that the device was affixed permanently on the body, so as to have the operator put each string in it's holder individually.
Two of these 3 aforementioned U.S. Pat. Nos. 3,406,408, and 5,753,838, address the subtracting of useable strings via hooks that remove one half of them from the plurality of strings changing from a 12 string to a 6 string. The remaining U.S. Pat. No. 4,408,515, addresses the addition of strings to a stringed instrument, via added string tension adjustment devices (tuners) on the bridge end, and a plurality of “posts” on the headstock to attach them to. There have also been, in the prior art, headstock designs by manufacturers that allow a plurality of string tension adjustment devices, well known to those skilled in the art, as exemplified by the Fender Telecaster 12, and Stratocaster X11, Gibson's 12 string headstock, the Rickenbacker 360/12, Duesenberg Double Cat-12, Martin D 12-35, and Burrell 12 string headstock, will be addressed.
By way of background, and to describe the type of means/methods, of installing string tension adjustment devices, that have been improved by applicant's invention, the disclosures of the above referenced patents, and prior art have been incorporated herein by reference.
For purposes of convenience in this description of applicant's invention, the attachment of “string tension adjustment devices”, will be referred to as “tuners”, “stringed instrument headstock” will be referred to as a “headstock”, and “stringed musical instrument” will be referred to as a “guitar”. Additionally this invention, as addressed herein, will be described as applied to a guitar. Those skilled in the art will recognize that this method/means of attachment for “tuners” can be utilized on any “headstock”, on any stringed musical instrument, thus converting, single stringed instruments, to double stringed instruments, or using, for single, stringed instruments, this method of tuner attachment, as a stand alone, primary means of tuner attachment, not only as a conversion, but as used on a newly manufactured instrument, or on a interchangeable, aftermarket neck.
A primary flaw with most of the prior art is that they either: subtract strings from a plurality of strings, double the size of the headstock to accept the added tuners, thus destroying the iconic character and desirable shape of the headstock, add tuners to the bridge that would render the instrument unplayable as a guitar, and couldn't possibly fit, employ large slots for string access, thus compromising string/headstock direct contact, and direct tone transfer, and not possible to do aftermarket, or double the thickness of the headstock to mount, conventionally, tuners underneath. All the aforementioned methods would render a conversion, on a guitar, aftermarket, impossible, and on some styles such as a slanted style, 6 tuners on one side headstock, well known to those skilled in the art, impossible aftermarket, or before market (new manufacture).
In addressing these aforementioned inventions, and prior art, we will first touch on a device invented by J. E. Gross, and patented in U.S. Pat. No. 3,486,408. The J. E. Gross guitar converter, was only available on one manufacturer's instrument, and had to be factory installed. This device pulls 6 strings away from the 12 strings supplied, so the fingering/fretboard hand still fingers 12 strings while the strumming hand strums 6 strings. This device was nearly impossible to deploy, and even more difficult to release. This device pulled the remaining 6 strings and the 6 subtracted strings when returned, horribly out of tune. This device additionally was not a method to add any amount of strings to a stringed instrument, was body mounted, and did not address the headstock, or tuners, at all.
The Sciuto U.S. Pat. No. 4,408,515, unlike '408, adds strings, and discloses the addition of brackets screwed into the headstock, and additional tuners affixed to the bridge. As for the tuners added to the bridge, on a guitar, and the way a guitar bridge is positioned, in relation to most, or all guitar players right hand playing positions, not only would they impede any players strumming (playing) hand resting on the bridge, or muting from that position, there is no possible way 6 additional tuners can be attached to a guitar bridge, due to space limitations. It is shown on a bass, where the bridge, due to the scale length, the bridge and added tuners are not anywhere near the players strumming (playing) hand, they are at the end of the guitar body, this wouldn't be the case with a guitar, and that's why the tuners fit, they wouldn't on a 6 string guitar spaced the way they're shown they would measure 6¾″ wide and approximately 2″ tall. Not only would this “obstruction” on the bridge make the instrument “unplayable”, the players strumming (playing) hand would constantly be in contact with the adjustment buttons of the tuners, this couldn't help but de-tune the instrument.
The Val George Vanga device, U.S. Pat. No. 5,753,838, unlike the Sciuto invention and like the Gross invention, subtracts strings from a plurality (12 shown), to achieve the desired effect. This invention is a bracket, screwed to the body of the instrument, with a series of “hooks” that the desired number of strings, the operator wishes to remove (6 shown), are manually pushed into, to achieve the desired effect. Like the Gross device, this device removes ½ of the desired strings from the plurality (usually 6 from 12), while the fingering/fretboard hand, still had the plurality (12 shown) of strings to finger. To operate this device, the strings would have to be put into their respective hooks one by one unlike the Gross invention. This device would, just as the Sciuto, or Gross devices, deface the instrument in one way or another. This invention would share the same drawbacks with the Gross invention, ie, the finicky properties of the 12 string tuning-wise, is such that pulling 6 of the needed strings, usually in excess of ½ inch plus, downward, and usually, and most probably the octaves, from the remaining plurality, they too would be pulled terribly out of tune. This device would be even harder to employ than the Gross device, shares most of the drawbacks and adds it's own drawbacks.
We now come to the aforementioned prior art referenced herein: The “Fender” Telecaster, as a 12 string, is called the “Telecaster 12”, and unlike it's 6 string counterpart, employs a massive, cumbersome, all too long, bilaterally symmetrical, and characteristically nondescript headstock as related to the “slanted” 6 tuners on one side, headstock. The length of this headstock, and the method used to attach the tuners, requires a long bar as a string tensioning device, so as to retain said tension over the nut. They are, due to the oppositional positioning of the tuners, awkward to tune, having to reach down, under, and around, to reach the opposite side of the headstock, and the tuners residing there. These 12 string guitars are only available as a custom shop option, and are most cost prohibitive. Additionally, virtually every manufacturer has a version of this bilaterally symmetrical, large cumbersome headstock.
The next headstock design in the prior art touched upon, will be the Fender Stratocaster X11, offered only on a limited basis, and once again large, cumbersome, purpose driven to accept the added tuners, and virtually identical to the previously mentioned Telecaster 12.
Also illustrated is Fenders “hockey stick” headstock, as a 12 string, and once again the massive size it had to be, to accept 12 tuners, even larger than the two aforementioned Fender style 12 string headstocks.
The next prior art we will visit is the Gibson 12 string headstock, and their method of tuner attachment, doubling the size of their standard headstock, and purpose driven to accept the added tuners. Also, virtually identical, architecturally as the aforementioned Fender 12's and most any other manufacturers offerings as a 12 string, also shown full size, to get a handle on the size they have to be, with their methods of attachment, for tuners. Shown is their 12 string headstock, and also their 6 string version, using the tuner attachment means of the present invention, to convert it to a 12 string. As mentioned, this headstock design, aside from the Fender style, is probably the most prevalent headstock shape on the market, with slight variations making it proprietary to any single manufacturer, and these two illustrations help show how, virtually all makers double the headstock size, as to accept the extra tuners.
The next models in the prior art we come to, will be discussed together, as they share the same headstock architecture. The “Rickenbacker” 360/12, and the “Duesenberg” Double Cat 12. These models, do use their company's, standard size headstock, and attach additional tuners to this headstock design. To do this, they route 2 long slots in the headstock for access to the tuner shafts. This could never be done aftermarket, after the instrument has been finished, and could never be performed on a slanted, 6 tuner/side “Fender” style headstock, due to space limitations, and the slot could never be done in a straight line on this “Fender” style headstock, so as to access the tuner shafts correctly, due to those same space limitations. The secondary set of strings on this style installation, contact the tuner shafts directly, which are mounted, loosely in a wood shaft thus removing any direct, positive, contact to the headstock, by the string, for a negative effect on tone transfer. These type headstocks were also awkward to tune, as you had to reach under and around the headstock to tune.
The next headstock design, is the open, slotted architecture of many of the classical designs, and for purposes of illustration, we will refer to the Martin D 12-35, which is virtually identical to these designs, and Martin has adapted this design to a 12 string instrument. This headstock design is purpose driven to accept 6 additional tuners, as was Fender, and Gibson's designs, but using Martin's method of attaching tuners, the headstock still had to be doubled in length to accept 12 tuners, and reveals two massive slots to provide the string with access to the tuner shaft. This design couldn't be performed aftermarket on a previously finished headstock, and couldn't be performed on a Fender style, 6 tuners on a side headstock, period, due to space limitations.
And lastly we touch upon the Burrell tuner arrangement, from Burrell guitars. They do have a slanted, 6 tuner per side headstock. This headstock, as a 6 string, has all 6 tuners conventionally mounted, 3 conventionally, and 3 tuners mounted in the center of the headstock underneath those, as the headstock is “stepped” lower on one side to accept the additional tuners. As a 12 string, the additional tuners are also attached, conventionally, underneath, and in the middle of the headstock. As stated this is achieved by “stepping” the headstock, to accept these added tuners, and to give distance between the tuner adjustment buttons. The tuners point in the same direction, but are not on the same side, as in the present invention. This headstock is proprietary to Burrell, and this method of attachment for their tuners, will not work on any other stringed instrument headstock, that has seen production, for aftermarket conversion, or before market utilization, as in new manufacture. Shown as a 6 string headstock, to better illustrate their method of tuner attachment.
What is missing in the prior art, and what my invention addresses, is a tuner attachment means for a stringed instrument headstock, that can convert, aftermarket, or before market, any stringed instrument headstock, from a set number of strings to a greater number of strings, while in no way changing: the shape, structural integrity, character or size, and all while being minimally invasive. This attachment method is most useful on any headstock design, including but not limited to headstocks having 6 tuners on one side design, which heretofore hasn't been achieved. This can also be offered as a retrofit 12 string neck with this attachment method, on slanted headstock, 6 tuners on a side, bolt on neck, as not to impair the integrity of a vintage instrument, and it's original parts, so as to switch back to original neck at will, and retain any would be value. As this method of attachment is sonically superior to the conventional tuner attachment methods, this method can also be most desirable as the primary means of attachment for tuners, on a stand alone 6 string installation, on any headstock design. This invention paves the way for virtually any guitar model made, now, at low cost, can be produced as a 12 string, or converted to a 12 string.